The eight-season-long HBO television adaptation of George R. R. Martin’s Game of Thrones was an international sensation, generating intense debates and controversies in many spheres. In 2016–17, an international research project gathered more than 10,000 responses to a complex online survey, in which people told of their feelings and judgements towards the series. The project was an ambitious attempt to explore the role that ‘fantasy’ plays in contemporary society. This book presents the project’s major outcomes. It explores people’s choices of favourite characters and survivors. It looks at the way modern works of fantasy relate to people’s sense of their own world, and what is happening to it. It explores the way that particular televisual decisions have generated controversies, most notably in relation to presentations of nudity, sex and sexual violence. The book uses the project’s distinctive methodology to draw out seven ways in which audiences watched the series, and shows how these lead to different responses and judgements. Notably, it leads to a reconsideration of the idea of ‘lurking’ as a problematic way of participating. A pair of complex emotions – relish and anguish – is used to make sense of the different ways that audiences engaged with the ongoing TV show. The book closes with an examination of the debates over the final season, and the ways in which audiences demanded ‘deserved’ endings for all the characters, and for themselves as fans.
as an alternative to dependence on the Belgian government – yet, given their
ambivalent rapport with the League of Nations, this strategy had little likelihood of success.167 After the temporary expulsion, the Palais operated under
difficult financial circumstances and endured further debates about its future.
Otlet claimed that its ultimate closure in 1934 was attributable to a fundamental issue, namely their ‘desire to realise an internationalproject and not a
national Belgian one’.168 Nonetheless, as chapter 1 has shown, he continued to
Gender and collegiality/managerialism are used as alternative interpretative frameworks in explaining the under representation of women in senior management. Gender is seen as a multi-level phenomenon: existing at the individual; the interactional; the organisational and the institutional level. This research project was undertaken in relation to an international project involving UK, Turkey, Sweden, Portugal, Australia, New Zealand and South Africa (Bagilhole and White, 2011). In each country the samples were purposive and a common interview guide was used. The Irish sample consisted of those at the top three layers of management in all Irish public universities: namely President, Vice President and Dean. It included both men and women; manager-academics and other professionals: with a response rate of 85 per cent. The method of data collection was a face-to-face interview and the data was analysed thematically. The wider international context for the study provides a salutary challenge to ‘Irish exceptionalism’ (O’Dowd, 1996).
This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
. Second, the office also
coordinated a substantial set of internationalprojects. These consisted of alternative spring break (ASB) trips which enabled Sewanee students to travel to several
developing countries to take part in two-week service projects. Although the ASB
programmes were not connected to the curriculum in any way, the outreach staff
often solicited members of the faculty to help co-facilitate these trips. After having
been exposed to outreach methods through these ASB experiences, several faculty
members began to explore the possibility of piggybacking
, with groups on integrated solid waste management;
• to increase the capacity of the members of the Project Management Council
to participate in local and internationalproject management leading to
new partnerships, and at least two new projects proposed by the Directing
Committee on the thematic topics covered by the project.
The project is governed by a Directing Committee made up of the original project
partners (University of Victoria, University of São Paulo, Forum Recicla São Paulo,
Rede Mulher de Educação) and a Project Management
is often described as ‘the most powerful artist in the
world’,15 is yet another who continually renews his work and his perspective.
Though a number of critics doubted the validity of his ‘powerful’ title,16 there
is fairly universal agreement that he is an artist who has made significant
achievements. Indeed, curator Hans Ulrich Obrist, director of InternationalProjects at the Serpentine Gallery, London, writes that Ai Weiwei
keeps extending the notion of art: he is an artist, a poet, an architect, a curator,
an expert on ancient Chinese craft-work, a publisher
Science and industrial development: lessons from Britain’s imperial past
for scientific research in the colonies had particular symbolic value after 1940 as concrete representations of Britain’s commitment to modernising its possessions. National research laboratories could be presented as indicators of incipient modernity and the move towards an independent status. They brought to a colony the capacity both to be self-sufficient in knowledge and also to contribute to the internationalproject of scientific advance.
The 1940 CDW Act was inspired by the experiences of the Great Depression that exposed both the